活躍於臺灣的1960世代詩人中，馬華作家陳大為(1969-)，無疑是相當具代表性的一位。「以詩入史」是他擅長的一種表現方式，也是過去論者們的聚焦之處。然而，從《盡是魅影的城國》起，陳大為其實也啟動了「論詩詩」的系列書寫。文中，我們從「以詩論詩」、「詩寫自我」、「詩寫詩人」三種角度，觀看其如何展現對詩美學、都市詩乃至於詩人角色的思考。最終可以發現，作為一個游移於臺灣與南洋間的旅居詩人，詩是陳大為生命中的定錨。他無意以詩改變社會，卻視詩為一珍貴理境的探尋。他對當前的華語現代詩－尤其是都市詩－的寫作弊病表達出針砭，對史詩與南洋的書寫緣由進行了說明，對古今詩人的創作表達出唱和與相惜。此等都讓陳大為的「論詩詩」書寫，開創出獨特而別具意義的成果

Among all the poets active in Taiwan in the 1960s, a Malaysian Chinese writer, Ta-Wei Chen (1969- ) is undoubtedly one of the most representative poets. ＂Putting poets into history＂ is a kind of performance he mastered, which was what the commentators focused on in the past. However, since ＂the cities and counties full of phantoms＂, Ta-Wei Chen has actually launched the writing of a series of ＂On-poetry Poems＂. In the article, we can view how Ta-Wei Chen showed his thinking on the aesthetics of poems, city-poems, and even the roles of poets from three different angles, which is ＂use poems to comment on poems＂, ＂use poems to write about the self＂, and ＂use poems to write about poets.＂ Eventually, we discover that as a traveling poet wavering between Taiwan and Southeast Asia, poems are the anchor for Ta-Wei Chen in his life. He didn't mean to change society through his poems, but he saw poems as the exploration of a precious environment. He revealed the malady of the writing of the current modern Chinese poems, especially city-poems, explained the reasons for writing about epics and Southeast Asia, and expressed his responsive and mutual cherishing of ancient and modern poets. All the above made the writing of ＂On-poetry Poems＂ by Ta-Wei Chen create a unique and meaningful result